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Finally, I’ve found some time to write a blog post and I’m ashamed to see how long it has been since the last one. I’ve been gathering catalogues, notes and bits of paper from the inordinate amount I have seen over the past month but now there are far too many to tell you about them all.

At this time of year we’re all looking ahead to Frieze week – in fact, LAPADA in Berkeley Square already heralded the beginning of art month. But, to look over some of my highlights I have to journey back to Edinburgh and an exhibition at Talbot Rice Gallery showing works by Korean artist, Nam June Paik. I have to confess, that I wasn’t at all familiar with his work even though he is dubbed the founder of video art. Born in 1932, Paik had a remarkable insight into the ways that technology would change everyday life and our approach to art. Unusually for Talbot Rice this is a posthumous retrospective; Paik died in 2006 but the gallery saw this as the perfect opportunity to celebrate this artist’s work – art and technology was the theme of the Edinburgh International Festival this year so this could not have been a more fitting choice.

It is a confusing exhibition as there is so much going on around the galleries that at times it becomes hard to digest – the main floor exhibits a survey of Paik’s video works, sculpture (including two of his handmade robots) and documentary pieces, while the upper gallery shows objects from his important debut solo exhibition in Germany that took place 50 years ago. Whatever direction you turn to Paik’s works include old-fashioned television sets whether in their entirety, showing montages of found documentary footage, or included in strange sculptures. The works are often noisy and at times almost aggressive in their crude aesthetics. Paik was intent on getting his message across and there can be no denying that he succeeded in conveying his overflowing ideas that combine television with contemporary art.

In contrast, was Franz West at Inverleith House. In all my years in Edinburgh I don’t think I’d ever visited the Botanic Gardens and I had most certainly been missing out. Aside from the incredible glasshouses, which I’d definitely recommend particularly because of the sculptures dotted around them, the Gardens and House are free of charge. Walking around this space is like entering another world, particularly in August when Edinburgh is taken over by the Fringe.

Sculptures in the glasshouses at the Botanic Gardens. Own photograph.

It is rare that we enter a gallery and are encouraged to touch the works on display. Here we’re not just asked to gently touch but to play full on with West’s pieces that are solely in collaboration with other artists. This exhibition contains more than 50 examples of these mad collaborations. The list of artists in the press release shows quite how influential West is for all these artists to want to work with him – examples are Sarah Lucas, Michelangelo Pistoletto or Douglas Gordon. Although there are some serious works the exhibition feels exciting and fun – if you don’t participate with the pieces you won’t get very much out of them. West allows us to escape the conventions of gallery-going where many feel constrained, forced to whisper and look from afar. The gallery staff make sure we’re doing it right as well – “Have you laid down here yet?” one young girl asked me as I walked through a room, “You can’t see the piece properly unless you do.” Well, that told me and before I knew it I found myself prostrate on a work of art. Thank you Franz West.

Inverleith aren’t attempting to exhibit the sculptures that many of us would normally associate with West – their exhibition is solely about the creativity of collaboration. Sometimes West integrated works by other artists with his own, sometimes he invited artists to ‘complete’ one of his works and sometimes the collaboration began with him asking an artist to provide him with something. West was, however, always the conductor of these exchanges, the master of collaboration and of artistic harmony.

The Edinburgh Art Festival spans the whole city and there are always wonderful installations dotted around in the most unusual o places. One such example is Peter Liversidge’s work where he was invited anyone in the city with a flag pole to fly a white flag which bears the text: HELLO. Hello is a word so commonly used in everyday life – to express a greeting, answer a telephone, attract attention and so on. Liversidge aims to remind us that a flag is also a way to say hello and, here, they wave at us from across the city’s public buildings, blowing their greetings across Edinburgh with each gust of wind.

A collective greeting in Edinburgh. Own photograph.

When I was at school aged only 7 or 8, one of the first artists we studied was LS Lowry and he has always had a special pull for me. Now Lowry’s time has come with a huge exhibition at Tate Britain. For me, Lowry’s works don’t work well in bulk so this exhibition was always going to be difficult in that regard. But that was never any doubt that no matter what Tate did I would be instantly won over. Even ignoring my own personal love for Lowry, this is a very important show and one that is curated by two senior curators who give it an immediate element of gravitas. But, both are art historians who live in America; they aren’t specialists in Lowry or British art and perhaps this is why they have decided to mix things up a bit, not always successfully.

The exhibition offers direct comparisons between Lowry’s work and that of 19th century French artists tackling the same subject which is the big let-down of the exhibition. Why have Tate not let Lowry stand in his own right? Nor is the exhibition hung chronologically so it is very hard to see the developments across more than 60 years of work.

Lowry’s depictions of England and his acute powers of observation are still something special. His depictions of modern life hold a simplicity and rusticity to them that capture the true feeling of the town – some of the scenes haven’t even changed that much since Lowry painted them in his work. Although the poverty and hardship of the times is there, he often idealises his scenes to make them more palatable for his audience. He is often criticised for the almost one-dimensionality of his tiny stick figures but look closely at the work that has gone into them. This is Lowry’s unique record of changing times – his very own texture and timbre of the world in which he lived and the specifics he chose to see. Love or hate Lowry this is a must-see show.

Idris Khan was one of the artists included in our East Wing VIII exhibition at The Courtauld but his latest show at Victoria Miro marks an important departure from the photographic based work he then showed. Beyond the Black comprises a suite of black paintings, a monumental site-specific wall drawing and a series of works on paper, considering the metaphysics of creation. Using a mixture of black pigment, rabbit-skin glue and slate dust the paintings’ darkness shines from the walls. Whereas previously Khan has used the writings of famous philosophers in his pieces, here he incorporates his own writings in response to his readings of Nietzsche, building up strands of text applying densely one on top of the other until the words disappear into the saturated surface, slipping away from us beyond our understanding. The further we try to look into the works, the less we can comprehend.

The wall drawing upstairs consists of more than 120,000 lines of text forming a giant radial form. It’s possible to get lost within this work for hours and I do mean get lost as we are incapable of following the complicated overlays of words at play here. Throughout the exhibition we are offered glimpses of words that may, or may not, give us a window into Khan’s thinking.

Edel Assanti’s latest show (and one on which I have worked) is of Alex Hoda’s incredible new sculptures where the cutting-edge technological processes of 3D-modelling are applied to traditional sculptural materials to create sublime forms. Alex’s work is an investigation into how discarded objects can provide a valid starting point for wider discussion and critique of contemporary society’s ‘throwaway’ culture. He sees chewing gum as the perfect embodiment of this area of consumer culture. The chewing gum undergoes a metamorphosis when translated into Carrara marble, imbuing the final piece with an importance that is more often exclusively reserved for classical iconography. The bronze works undergo a comparable transformation, only the source objects are delicate hand-sculpted maquettes formed from entwined dry banana skins. Despite the medium of bronze, the ‘banana skins’ have an incredible delicacy and tactility that defies their medium and recalls the source objects in a beautiful way.

David Zwirner is currently showing Philip-Lorca DiCorcia’s East of Eden, a large-scale body of photographs ranging from strangers, family members and pole dancers. He takes everyday happenings and pushes them beyond the realms of banality and normality asking the viewer to question the truth of the image. The works, partly inspired by John Steinbeck’s book of the same name and the Book of Genesis convey a sense of disillusionment, with lone figures contemplating their surroundings and remaining beyond our reach. While some are compositionally stimulating and powerful others don’t quite hit the mark for me.

Finally, I was lucky enough to visit Stanley Spencer’s Sandham Memorial Chapel at Burghclere just before it closed to the public for a long programme for conservation and renovation. Words cannot do justice to the feeling of walking through the modest chapel doors and being overwhelmed by the inspirational scenes that Spencer created, a series of large-scale epic murals that honour the ‘forgotten dead’ of the First World War, inspired by Spencer’s own experiences both as a hospital orderly in Bristol and a solider on the Salonika front.

Peppered with personal and unexpected details, they combine the realism of everyday life with dreamlike visions drawn from his imagination. His recollections, painted entirely from memory, focus on the domestic, rather than combative, and evoke everyday experiences – washing lockers, inspecting kit, sorting laundry, scrubbing floors and taking tea – in which he found spiritual resonance and sustenance. The poignancy of the works is powerfully emotive. The main 16 panels from this English ‘Sistine Chapel’ are journeying to Somerset House for an exhibition next month.

This is by no means a survey of all I have seen but a taster of some shows that are currently on. The winter programme across London and the UK looks particularly exciting and I’ve recently bought a host of new heels in which to enjoy them.

Transmitted Live: Nam June Paik Resounds is at Talbot Rice Gallery, Edinburgh, until 19th October 2013, www.ed.ac.uk/about/museums-galleries/talbot-rice. Mostly West: Franz West and Artistic Collaborations was at Inverleith House, Edinburgh. Lowry and the Painting of Modern Life is at Tate Britain until 20th October 2013, www.tate.org.uk. Idris Khan: Beyond the Black is at Victoria Miro until 9th November 2013, www.victoria-miro.com. Alex Hoda: D-Construction is at Edel Assanti until 26th October 2013, www.edelassanti.com. Philip-Lorca diCorcia: East of Eden is at David Zwirner until 16th November 2013. Stanley Spencer: Heaven in a Hell of War will be at Somerset House from 7th November 2013 – 26th January 2014, www.somersethouse.org.uk.